• The island of San Giorgio Maggiore lying east of the Giudecca and south of the main island group, with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • The island of San Giorgio Maggiore lying east of the Giudecca and south of the main island group, with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • The island of San Giorgio Maggiore lying east of the Giudecca and south of the main island group, with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • The island of San Giorgio Maggiore lying east of the Giudecca and south of the main island group, with its church front designed by Andrea Palladio and begun in 1566.  Venice Italy
  • The neo-classic south front with Corinthian columns of the Duke of Buckingham's  Stowe House designed by Robert Adam in 1771,  Buckingham, England
  • The neo-classic south front with Corinthian columns of the Duke of Buckingham's  Stowe House designed by Robert Adam in 1771,  Buckingham, England
  • Corinthian coloumns of  the neo-classic south front with Corinthian columns of the Duke of Buckingham's  Stowe House designed by Robert Adam in 1771,  Buckingham, England
  • The neo-classic south front with Corinthian columns of the Duke of Buckingham's  Stowe House designed by Robert Adam in 1771,  Buckingham, England
  • The neo-classic Corinthian columns  of the south front of the Duke of Buckingham's  Stowe House designed by Robert Adam in 1771,  Buckingham, England
  • The neo-classic south front with Corinthian columns of the Duke of Buckingham's  Stowe House designed by Robert Adam in 1771,  Buckingham, England
  • The neo-classic Corinthian Arch looking towards the south side of the Duke of Buckingham's Stowe House, Stowe, Buckingham, England
  • The neo-classic Corinthian Arch looking towards the south side of the Duke of Buckingham's Stowe House, Stowe, Buckingham, England
  • Neo-Classic Doric arch folly in the English landscape gardens of Stowe, designed by Capability Brown. Buckingham, England
  • The neo-classic south front with Corinthian columns of the Duke of Buckingham's  Stowe House designed by Robert Adam in 1771. The landscape English garden was designed by Capability Brown.  Buckingham, England
  • The neo-classic south front with Corinthian columns of the Duke of Buckingham's  Stowe House designed by Robert Adam in 1771,  Buckingham, England
  • The neo-classic Temple of Concorde in Capability Browns English Lanscape Gardens at the Duke of Buckingham's  Stowe House,  Buckingham, England
  • The neo-classic Corinthian Arch ldesigned by Giovanni Battista Borra in the 1750's ooking towards the south side of the Duke of Buckingham's Stowe House, Stowe, Buckingham, England
  • Lion statue in front of the neo-classic south front with Corinthian columns of the Duke of Buckingham's  Stowe House designed by Robert Adam in 1771,  Buckingham, England
  • The neo-classic Temple of Concorde in Capability Browns English Lanscape Gardens at the Duke of Buckingham's  Stowe House,  Buckingham, England
  • The Neo-classic Eleven Acre Rotinda folly, Stowe, Buckingham, England
  • The neo-classic Corinthian Arch looking towards the south side of the Duke of Buckingham's Stowe House, Stowe, Buckingham, England
  • The neo-classic south front with Corinthian columns of the Duke of Buckingham's  Stowe House designed by Robert Adam in 1771,  Buckingham, England
  • Corinthian coloumns of  the neo-classic south front with Corinthian columns of the Duke of Buckingham's  Stowe House designed by Robert Adam in 1771,  Buckingham, England
  • The neo-classic south front with Corinthian columns of the Duke of Buckingham's  Stowe House designed by Robert Adam in 1771. The landscape English garden was designed by Capability Brown.  Buckingham, England
  • The neo-classic south front with Corinthian columns of the Duke of Buckingham's  Stowe House designed by Robert Adam in 1771,  Buckingham, England
  • The Gothic Temple ( 1740's ) designed by James Gibbs in the English landscape gardens of Stowe, designed by Capability Brown. Buckingham, England
  • The Palladian  Style Temple of Ancient Virtue designed by William Kent in 1731 , Stowe, Buckingham, England
  • The Palladian  Style Temple of Ancient Virtue designed by William Kent in 1731 , Stowe, Buckingham, England
  • The Palladian  Style Temple of Ancient Virtue designed by William Kent in 1731 , Stowe, Buckingham, England
  • The late Baroque "Pepper Pots" at the west entrance to Stowe House, Buckingham, England
  • The Gothic Temple ( 1740's ) designed by James Gibbs in the English landscape gardens of Stowe, designed by Capability Brown. Buckingham, England
  • The Gothic Temple ( 1740's ) designed by James Gibbs in the English landscape gardens of Stowe, designed by Capability Brown. Buckingham, England
  • A Neo Classic column in the  English gardens  designed by Capability Brown.  Buckingham, England
  • The rotunda of Venus (Aphrodite) in the English landscape gardens of Stowe, designed by Capability Brown. Buckingham, England
  • The Palladian Bridge 1774 designed by James Gibbs over the lake  in the English landscape gardens of Stowe, designed by Capability Brown. Buckingham, England
  • The Palladian Bridge 1774 designed by James Gibbs over the lake  in the English landscape gardens of Stowe, designed by Capability Brown. Buckingham, England
  • The Gothic Temple ( 1740's ) designed by James Gibbs in the English landscape gardens of Stowe, designed by Capability Brown. Buckingham, England
  • A Neo Classic column in the  English gardens  designed by Capability Brown.  Buckingham, England
  • Chain Bridge or lanchid crossing the river Danube in Budapest at night
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • The Room of Mars - The Neoclassical fresco by Antonia Gallianop painted in 1815, represents the death of Hector and the triumph of Hector. The furniture is in Empire style and the Alabaster vase in the middle of the room was donated by Pius IX  .The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • The Room of Mars - The Neoclassical fresco by Antonia Gallianop painted in 1815, represents the death of Hector and the triumph of Hector .The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • The Room of Mars - The Neoclassical fresco by Antonia Gallianop painted in 1815, represents the death of Hector and the triumph of Hector .The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • The Room of Mars - The Neoclassical fresco by Antonia Gallianop painted in 1815, represents the death of Hector and the triumph of Hector .The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • The Room of Mars - The Neoclassical fresco by Antonia Gallianop painted in 1815, represents the death of Hector and the triumph of Hector. The furniture is in Empire style and the Alabaster vase in the middle of the room was donated by Pius IX  .The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • The Room of Mars - The Neoclassical fresco by Antonia Gallianop painted in 1815, represents the death of Hector and the triumph of Hector .The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • The Room of Mars - The Neoclassical fresco by Antonia Gallianop painted in 1815, represents the death of Hector and the triumph of Hector. The furniture is in Empire style and the Alabaster vase in the middle of the room was donated by Pius IX  .The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • The Room of Mars - The Neoclassical fresco by Antonia Gallianop painted in 1815, represents the death of Hector and the triumph of Hector .The Kings of Naples Royal Palace of Caserta, Italy. A UNESCO World Heritage Site
  • "The Room of Mars" also known as "The waiting room for titled persons and the Barons of the Kingdom, High Ranking Officers and foreign Intendants". The neoclassical decoration are designed to be an  exaltation of war.  The Bourbon Kings of Naples Royal Palace of Caserta, Italy.
  • The Ottoman style eceletic mix of Baroque & neo-Classical style Architecture of the gate of the Dolmabahçe (Dolmabahce)  Palace, built by Sultan, Abdülmecid I between 1843 and 1856. Istanbul Turkey
  • The Ottoman style eceletic mix of Baroque & neo-Classical style  Architecture of the Sultans gate of the Dolmabahçe (Dolmabahce)  Palace, built by Sultan, Abdülmecid I between 1843 and 1856. Istanbul Turkey
  • The Ottoman style eceletic mix of Baroque & neo-Classical style  Architecture of the Sultans gate of the Dolmabahçe (Dolmabahce)  Palace, built by Sultan, Abdülmecid I between 1843 and 1856. Istanbul Turkey
  • The Ottoman style eceletic mix of Baroque & neo-Classical style Architecture of the gate of the Dolmabahçe (Dolmabahce)  Palace, built by Sultan, Abdülmecid I between 1843 and 1856. Istanbul Turkey

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